Something made from nothing is like magic for me. Turning unwanted snarls of wire into jewelry and discarded knots of wood into sculpture are more than fond memories from childhood. For me it provides a foundation for working which involves a process of discovery through exploring materials, processes, and my own subconscious.

One place I found nothing is at the intersection of art and technology, using hand movements captured on a scanner. The scanner records an artifact of my movement in a scan. From the scan, I manipulate organic lines and shapes often working with the dark spaces between my fingers. For instance, I used the thin straight space between my pressed fingers to create my dandelion motif.

I consider my painting something from nothing because I try to work from a place of "no thought." My intention when working this way is to let go of ideas and to simply respond (to anything), letting my subconscious reveal itself. The figures I paint can be seen as many things, but I try not to define them; I’d rather they remain nothing.

Some parallels between my current bodies of work, digital assemblage and analog painting, reveal shared palettes as well as explorations of a figure relating to an environment. With my digital work, I rely on my eye to discover the familiar patterns of nature, and my skill with the computer to help it evolve. My painting work, on the other hand, relies on familiar movements while letting go of thought and eliminating judgment. The two bodies of work come from different methods, but discuss the same issues visually... color, form/figure, and a sense of place.